Author Archives: wzdc

1998 IRC Chat

Deborah: DC & WZ Here Hello!

Mark&Co: Hi! how are you!

suz: hello 🙂

Alison: Hello. Now we have to watch what we say?

Deborah: Good thanks

Mark&Co: It’s Rach typing at Mark’s – he’s here too

Mark&Co: wow! It’s getting crowded here!

Deborah: Any questions?

Mark&Co: how’s alma?

Deborah: 3 months tomorrow & drunk as a skunk

Mark&Co: yep… we were just discussing them when you arrived!

Alison: Heaps. Mark’s sister wants to know what you think of Bette Midler, and I was wondering about Whitney Houston.

Mark&Co: No, rach’s sister wants to know…

Alison: See, there it is again.

Deborah: I used to have a dog that looked like Bette- small eyes & a huge mouth

Anonymous: hey sorry i’m late

Mark&Co: sorry – should I start my comments with an r?

Mark&Co: hi felice!

Deborah: first clip

Anonymous: cool how did you know?

Mark&Co: is it dry sex or wry socks?

Deborah: neither

Mark&Co: damn! do tell 🙂

Anonymous: ok i got “my third husband” playing…i’m all set!

Alison: Is it resurrect your shoes, or razor rash? I like resurrect–you know, the whole Parson’s Brass thing.

Deborah: Well actually it’s dry socks

Mark&Co: who dislikes dry socks?

Deborah: & razor rash

Alison: Oh well.

Deborah: I’m learning things too(WZ)

Mark&Co: which is your fav song of that someone else wrote to sing?

Mark&Co: (oops) typos

Alison: So the big hip thing in music here is that all the guys are now painting their nails. Will Willy be joining the bandwagon?

Deborah: Could you repeat that IN ENGLISH

Alison: Was that to Mark or me?

Mark&Co: of songs that other people wrote, which is your favourite to sing?

Deborah: I’m plucking my nails – that’s the NEXT big thing

Mark&Co: ooow!

Alison: Ouch.

Anonymous: Go Deborah!!!

Mark&Co: pink would suit willy (rach)

Deborah: Go anon, I’ve always loved your work

Mark&Co: he’s written so much and is so old

Alison: Here’s one. what do you think is the best song you’ve written?

Deborah: We went shopping today for outfits for the tour

Mark&Co: hang on – what about my question?

Alison: That was for DC, not for mark.

Mark&Co: thanks Al 😛

Deborah: Mark the best song that I’ve sung is Crazy or Goldfinger

Anonymous: so have I…esp “hansel and gretel’s mother was dead, their father was sad cos he got no more head”

Alison: What’s that from?

Deborah: Alison tough question – we like Here In My Arms at the moment but your best song is always your next song

suz: ok heres one i always wondered, that last song on your first album dedicated to your goddaughters, what was its basic essence?

Deborah: Innocence

suz: hmmmmm

Alison: Good answer. Good answer.

Mark&Co: not sex or death? (or sex)

Anonymous: that is one of my absolute fav’s

suz: it always sounded just like the experience of childbirth to me tho you hadnt had that yet 🙂

Deborah: I don’t sing other peoples songs as much as I should

Alison: Is Goldfinger a DC song? I’m guessing no.

Mark&Co: good guess Al – Shirley Bassey

suz: do you like others singing yours?

Anonymous: why should you? yours are better

Alison: In response to Suz, let’s hope so, because I do it all the time.

suz: hehehe

Deborah: The idea tends to be better than the reality so far. Wendy Mathews does one of our songs on her latest

Mark&Co: which one?

Deborah: It’s called Mountains We’ve only demoed it & she changed it completely

Alison: So I’m here in the states and wanted to pass on that I’ve gotten about six friends really into your music, and think it’s awful that your stuff hasn’t been released here. Not to mention expenisive to get it, but what can you do?

Deborah: Al thank you – it must be very late there

Deborah: You should form a record co

MarkandCo: is evil homer about people you (pl) know?

Alison: AND is Pablo the last to know that Kurt Cobain is dead? Really, your stuff is awesome, and there’s so much crap here. Frustrating for me, can’t imagine being in your shoes.

Mark&Co: Nicky says hello

Deborah: Hi NP

Mark&Co: hi DC

Deborah: Nice to see you at swinburne

Anonymous: where are you at right now Deborah?

Mark&Co: and WZ (SDZ & AdeRZ)

Deborah: In my office at home

suz: phew 😐

Deborah: I saw Ani DiFranco the other day

Anonymous: who?

Alison: We heard. Was she great? I’ve been wanting to see her live.

suz: Deborah do you prefer only questions about your music?

Deborah: Ask anything but don’t expect quick answers from remedial typists

Mark&Co: I heard she was fantastic

Deborah: She’s a great guitar player & I like her big heels

Mark&Co: what outfits did you buy?

Alison: Speaking of guitar, when did you start playing? (Did you play in DRM and just not on the albums?)

Mark&Co: good question Alison;-)

suz: thanks 🙂

Deborah: I didn’t pick up a guitar till I was 18

Mark&Co: and the clothes??

Deborah: I didn’t play with DRM because they wouldn’t let me

Mark&Co: why not ?(rach)

Alison: I saw Shawn Colvin last week and she’s pregnant and talked about both of her big toenails falling off. did this happen to you?

Mark&Co: Nicky thinks the toenails are a shoe problem..

suz: Ok well I was wondering what being a mother has meant to you? I know iits a big question but does it enrich your life? Has it changed a lot of your veiws ? I mean aside from all of the extra work 🙂

Deborah: My toenails didn’t collapse it was my brain

Mark&Co: like the gold fish?

Deborah: It changes you completely & fundamentally

Alison: for the better?

suz: I know but did it halt you in any ways?

Deborah: There’s now someone to die for

suz: I have 2 little girls myself 🙂

Deborah: It halts everything & you move to the dictates of another dictator

Alison: “there’s now someone to die for” sounds like it could be a line from the new album.

Deborah: Suz so you know

Mark&Co: so how about those outfits – anything as stunning as the red dress?

suz: well I do but i always presume its diff for others 🙂

Deborah: There’s a great divide between the people who know & the people who don’t

suz: always think its easier 🙂

Anonymous: heehee Mark that dress is implanted in my brain

Mark&Co: and mine (rach)
S

suz: but you probably have bad days too and rotten night s “:)

Deborah: You’ll have to wait & see

Mark&Co: any new material for the tour?

Deborah: We have good nights & the days are getting better all the time

Anonymous: Deborah, will you sign autographs after any shows?

suz: Im glad 🙂

Deborah: New material exists & one or 2 may be played

Mark&Co: how about a photo with the melbourne bitch list after the continental show?

Alison: Have you written any songs for/about your daughters?

Mark&Co: so how many people here are on the bitch list? (And where are people from?)

suz: Deborah, were you always comfortable in your skin? as in you look so cofident in your body no matter what and that is what i like the very most about you 🙂

Alison: Count me as a bitcher, live from America.

suz: Um Im from Canberra and no i guess im not 🙂

Mark&Co: three bitchers here (mark, nicky and rachael) all in mebourne

meeks: Big bitcher from Melbourne

Yon: 1 bitcher here from sydney

Anonymous: huge bitch in melbourne

Mark&Co: lots of bitches…

suz: hehe

Mark&Co: deborah, having fun there>

Deborah: A few technical problems there we were chatting to Suz only

suz: well thank you kindly hehe

Alison: Thanks to DC it’s GOOD! to be a bitch!

suz: charmed im sure 🙂

Deborah: Anon I’ll sign anything but how will I know it’s you?

Mark&Co: I’ve always enjoyed bitching… (r)

Deborah: Feminism has such a bad name these days, it bothers me

Anonymous: i’ll tell you….i am the butt ugly guy waving your cd cover

Alison: So did “Bitch Epic” really come about that way? the story is very believable.

Mark&Co: Has anyone heard “It’s a Girl Thing” on the radio yet?

Mark&Co: feminism is a good thing, but my armpits aren’t hairy (r)

Deborah: Bitch E came out of a hat – check yours you never know what you may find

suz: um deborah did you get my other question?

Anonymous: no mark…i heard “it’s only the beginning” on TTFM yesterday

Deborah: Yes has anyone heard Girl Thing on the radio?

Deborah: Feminism is not armpits

Mark&Co: nope – but I’ve e-mail JJJ with a request – anyone else?

meeks: deb you inspired me to write a sing, I would like to send it
to you, if thats possible

Deborah: Meeks bring it to a gig & say Hello

meeks: I’ll try

Anonymous: its not girl power is it deborah?? *ducks*

Alison: Will you be returning to London any time soon? Any shows there? It’s closer than Australia.

Mark&Co: alison, only just closer (a few thousand miles…)

Deborah: London is on the cards but nothing definite

Mark&Co: who else is listnening to DC while online?

suz: was that a “no” Deborah?

Alison: I’ll just wait. No problem.

Mark&Co: how havethe gigs been?

Deborah: Suz no

suz: oh ok I thought you couldnt see me 🙂

Anonymous: me…the way you look tonight is just starting

Deborah: we’ve only just begun

Anonymous: what are you up to mark?

suz: suz1> Deborah, were you always comfortable in your skin? as in you look so cofident in

suz: real life?

Mark&Co: just sitting watching me type (r)

Alison: DC, did you write “Gold”. It’s got an 1800s Russian winter feel to it (I’ve only heard it about 5 times)

suz: I have always liked that the best about you 🙂

Deborah: No i experience enormous anxiety, it’s what keeps me writing

suz: wow

suz: it never shows 🙂

Deborah: Gold is by an American Peter Blegvad

Mark&Co: what really annoys you?

suz: I am so jealous of what seems so comfy in you 🙂

Alison: great question mark

Mark&Co: suz, buy My third Husband, it will make you feel better! (r)

Deborah: You’d probably appear comfy to me – it’s the human condition

suz: hehehe

suz: I know 🙂

suz: lol

suz: not if i was hiding under a table when you looked at me lol

Deborah: the way corporations evade tax

Mark&Co: go girl!

suz: here here!

Mark&Co: I’d like to avoid tax the way they do! (rach)

Deborah: while we support society – & governments condone it

Mark&Co: what annoys willy?

Deborah: Having to type

suz: )

Mark&Co: 🙂

Anonymous: what scares you Deborah?

Deborah: spiders

suz: eeeeeeeeeek

suz: Huntsman??

Mark&Co: arachnapobia?

suz: the big hairy ones?

Mark&Co: I always thought spiders were kind of cute(r)

Alison: This isn’t really on the subject, but what’s your favorite book? (I find that to be an interesting insight into people)

Mark&Co: what about Molly Meldrum?

Deborah: & other people’s certainty

meeks: i like the little red ones

suz: i like that Deborah 🙂

Deborah: Book? So many

Anonymous: you prefer people to be uncertain?

Alison: So many–fair enough.

Deborah: Mater & Margherita

Deborah: Master &….

Mark&Co: Nicky says she knows a Simon just like the one in evil homer

Alison: I was listening to “It’s all part of my education”. Do you really speak German?

suz: ever read the womans room?

Deborah: 5 German phrases

Mark&Co: hte only german I know is the stuff I had to sing (r)

Deborah: Womans Room good….all the pretty horses

Mark&Co: who do you admire?

suz: btw mark&co……I dont feel bad 🙂

Deborah: Love in the time of cholera….Sabbath’s Theatre

suz: Deborah…..Pretty horses???

Mark&Co: Willy – are you stuck typing all this?

Anonymous: do you know what kind of fans you attract? as in age/gender/sexuality etc.

Mark&Co: nutters?

Deborah: Noam Chomsky Germaine Greer Woody Allen (for his way with women)

Mark&Co: who does willy admire?

Mark&Co: hmm… silence

Alison: What kind of staging/set stuff was there on the Epic Theatre tour.

Deborah: Mark I hate these questions I don’t have heros

Deborah: I did a 3 hour monologue

Mark&Co: Mark does! (rach)

Deborah: Final questions please

Alison: That would’ve been great. When was Parabasis written? I love that song.

Mark&Co: Are you likely to do anything like the epic theatre tour again?

Deborah: I wrote it for a version of Aristophanes Frogs that I performed in

suz: I dont want to ask another question I just want to say thanks for coming on here so i could be braver than i ever am when you are near 🙂

Deborah: Directed by Geoffrey Rush of Shine fame

Alison: thanks for chatting. I’ll see you live some great day in the far off future.

Anonymous: i also wanna say thanx Deborah, you’re a great music maker

meeks: I’ll try and get that song to yu. it might be difficult though. thanks for chatting

Mark&Co: thanks for chatting with us nerds deborah & willy

Deborah: If I ever hit the zeitgeist again I’ll do a big show

Deborah: Bye all DCWZ

suz: bye 🙂

Deborah: Thanks

Alison: cheers

Anonymous: and i’ll see you at la trobe!

suz: bye willie

meeks: bye

Swinburne Uni, 22 April 1998

Deborah Conway’s performance in Atrium at Swinburne at Lilydale (SAL) was, to say the least, a mind blowing experience. I came away with the impression that she’s a consummate vocalist, a competent guitar player, and a performer of undeniable presence. Although to the uninitiated, the crowd size and response might have seemed a bit lacklustre, DC’s concert stood head & shoulders above the many performances held at SAL since its opening in 1997.
Equipped only with vague (but good) memories of a couple of DC’s hit singles, I took a seat in the “front row” of the atrium. Deborah and Willy then gave the crowd an exquisite lunchtime treat consisting of an “Alive & Brilliant/Man Overboard” sandwich, filled delectably with (amongst others)…
* It’s a Girl Thing
* Under My Skin
* All of the Above
* Only the Bones
* 2001 Ultrasound
* Here in My Arms
* Feathers in My Mouth
A daytime campus performance is a bit like having entertainers perform in your own lounge room. You seem to get a bit more of the people, and less of the media image you normally associate with them. DC (and Willy) ambled up on stage without any fanfare and, after complimenting the free pumpkin soup on offer, got right into their first song. “Alive and Brilliant”, was a great song to reconnect those of us who only had distant memories of DC’s past work.
No doubt adjusting to the culture shock of SAL’s “aircraft hangar” acoustics, DC suggested “It feels like someone’s sucking your brain out through your ears.” Throughour Deborah puncuated the music with numerous comments on pregnancy, lactating, etc – demonstrating an amazing and unconventional turn of metaphor.
Quite a few of the MTH songs were done using sequenced backing music, featuring beats and sounds quite unlike anything I’ve become used to hearing. It was as if DC & Willy had taken the time to choose or construct the sounds they were using, rather than simply going with the default settings of the computer. The effect was quite electrifying, and I was in awe of their skill at maintaining such complex rhythms in an environment with more echoes than you could poke a stick at. (After all, if you lose your place with a backing track, “the band” doesn’t wait for you to catch up.)
Speaking as an erstwhile guitar player, Willy impressed me with his minimalist and rather unorthodox approach. It’s not often I’ve come across such an accomplished guitar player who doesn’t play through a conventional amplifier, doesn’t use an expensive brand name or bouquet guitar, and plays finger style to such great effect. Although he remained seated for most of the concert, Willy’s feet did a veritable tap dance on his effects unit pedals. His use of effects however wasn’t “in your face” and added a heap of texture to the songs. Although the over all volume of the concert was quite low, he somehow managed to make some really big guitar sounds with a minimal amount of fuss. His smile and lack of “bump & grind” made the whole process look exceptionally easy. I’m in awe of his ability to extract such a colourful combination of sounds in each song to make up for the overall lack of other instruments.
Deborah is no slouch when it comes to guitar playing. Although she sticks mainly to chords and rhythm, but she’s got a great chord vocabulary, impeccable timing and a confidence that matches that of her singing. As to her singing, I’m really impressed the way DC uses every bit of her amazing vocal ability. Her use of screaming and talking during her songs adds a dimension rarely, if ever heard in mainstream music. I normally judge a performer on their ability to sound as good in a concert as they do in the studio. DC was nothing less than impressive in this regard, and her distinct way of working the audience was a delight to behold. The acoustics at SAL did very little to detract from my enjoyment.
The highlight song for me was probably “Here in My Arms”. Although I hadn’t heard it before, it provided me with a heavy case of goosebumps and a bit of a trance state – in my book, that’s what good music’s all about. DC and Willy made good their finish with the flamboyant funk-style acoustic rendition of “Man Overboard”; I hadn’t realised it was a DC song. I then dawned on me that I’ve been enjoying Deborah’s music for quite a while.
I think I’d be right in saying that DC drew the largest crowd ever in SAL’s concert history. There were even a few of the admin staff amongst the faces in the crowd. I thought it was a shame they didn’t call for an encore, but maybe you need a few diehard fans in the audience to get that happening. After it was all over, there was a considerable queue waiting to buy MTH. Not having any ready cash I took the safe option and had a brief chat with Willy about some of the finer points of his guitar playing.
If I was to sum up my first live DC experience in a few words, I’d have to say that it was refreshing to have her come across as a human being rather than some image concocted by a marketing agency. I’ve spent considerable sums of money seeing artists with big reputations on big stages and come away feeling somewhat let down.
Quite apart from her exceptional talents as a singer and guitar player, Deborah Conway’s rather distinctive style of humanity is very endearing.
Tim Hackett

Australia Day, 1998

Deborah and Willy peformed twice in free concerts for the faithful and lucky alike. The first show was in the Fitzroy Gardens. The weather was pretty horrible and the punters pretty thin on the ground. They started the show with a new song (sorry, didn’t catch the name of it) and then progressed through Alive and Brilliant, Here in My Arms, 2001 Ultrasound, Release Me, Today I am a Daisy, Only the Bones, and Girl Thing.
In Williamstown that evening they played again to an enthusiatic crowd at the Williamstown Festival (actually in Newport). They fired up for pretty much the same set but seemed to be enjoying it a lot more. This was certainly the show to see for the day. Syd did a good job of upstaging her parents when she danced in front of the stage and also wanted to join them.
The second show was certainly the one to see and we can only hope that they will be back for the Willy Festival in 1999.
Mark

Tilley’s – 6 Dec 1997

“We’re aiming for audience satisfaction tonight!!” proclaimed Deborah as she took the stage for the last time in Canberra for 97. Willy joined her (were they the same pants Deb wore in the video clip for “It’s only the Beginning” – out on the golf course?) and the gorgeous couple launched into “I’m Not Satisfied.”
After four days of clean air and good living in the Nation’s Capital, the pair looked rejuvenated and full of energy for what was the highlight of their four night stint at Tilley’s. Deb started slowly saying “I had so many things to say tonight but my brains have dissolved and dribbled into my stomach…” which livened up the audience who couldn’t stop smiling and grooving all night.
We were treated to Willy at his best, he could have sat and played all night… it was one of those concerts. I couldn’t help but think that he had read his brother’s review as his feet appeared to be glued to his bar stool!! He did admit after the concert that he had read the review but denied any conscious change in behaviour!
When Willy’s happy, Deb’s happy, and their energy flowed through to all of us lucky enough to be present. “She Prefers Fire” was particularly engaging with “Today I’m a Daisy” the big winner on the evening.
The best was saved for the encore when Deb fielded requests from the floor… “GOLDFINGER!!!”…. Deb looked at Willy – “Naaaah…” “STRING OF PEARLS?!?” Again – “It’s too long.” Shouts of “MAN OVERBOARD!!”, “MAN OVERBOARD!!”, MAN OVERBOARD!!” echoed around the bar and we were treated to the epic tune for a good six or seven minutes… just tremendous. “White Roses” concluded what had been an unforgettable night.
Until… Deb emerged from the change room for a solo performance of DCN #348. “Sorry – I know you all want to go home but I promised someone I’d play this for them. I’ve only played it live once before and it was here at Tilley’s a few years ago, probably for the same person… must have the soft touch.” The entranced crowd savoured every second of the beautiful song and couldn’t believe their luck at hearing this rare gem. Willy joined Deb and they played another request, “Bag of Sweets”, with such incredible feeling and aplomb.
I certainly can’t thank Deb and Willy enough for their professionalism, their kindness and their sincerity, but most of all for the special encore performance.
And the crowd??? 100% satisfied.
Sarah Groube

Tilley’s – 4 Dec 1997

Day Two of “Deborah Conway Week” in Canberra was never going to live up to the spectacle that was Opening Night.
Whilst Deb and Willy were at full strength to start the show, it was obvious that they were thrown by a few distractions during the evening.
Willy’s guitar string snapped right in the middle of “Release Me”. He recovered magnificently, clocking a world record lap of the stage to pick up his spare guitar and reposition himself gracefully on his stool, just in time for his essential solo.
The new guitar presented some problems, providing an annoying feedback when the stage ligts were on. A few minutes of experimentation followed, with the lights, the sound, and even Willy’s interpretation of Mr Bean in the episode where he brings a new television home and can’t quite sort out the reception.
Luckily, the guitarist from support band The Deadly Nightshades was on hand to restring the #1 guitar. Unfortunately, he neglected to retune the string and copped a small mouthful from Willy… all in good fun.
Just one more drama when the incredible stench which seeped through from the toilets (shared by the Thai restaurant next door)was enough to gag Deborah and the entire front row. This led Deb onto her entertaining story of the gig in London where the toilets above the stage were leaking into the venue and everyone had to be evacuated… nasty!
The encore set was kicked off with “Last to Know”… no voting for “White Roses” tonight. We heard “String of Pearls” (thanks to Willy for reminding Deb of the words to the first line), but other than that the set was the same as Wednesday (no “Bag of Sweets” though).
Deb has added to her comment that “Yes, I have had sex recently,” sice she has arrived in Canberra. “… and heterosexual sex too, would you believe?!” Can you say that?!
All in all, the fab trio (it’s Rupert who mixes, sound checks, baby sits and sound checks again who really makes the show what it is), provided another fantastic night of entertainment in Lyneham.
Sarah Groube

Tilley’s – 3 Dec 1997

Wednesday 3rd December, Tilley’s, Canberra
Deborah loves Canberra … it must be a combination of the intimate venue Tilley’s and the impecably behaved audience. Most of all though – Deb gets to play the politician!
“Can’t wait for the double disillusion!!” she proclaimed mid way through the set… “F*%& you John Howard!!!” she screamed as she lifted her dress to reveal an Aboriginal flag garter encasing her left calf.
And again – “Who here listens to JJJ??” Deb received a mediocre response. “Well you should all request 2001 Ultrasound… they think it’s too mature. I have just one thing to say to Triple J —-” followed by a huge raspberry. Deb launched into a powerful, tuneful rendition which had the otherwise subdued crowd swaying in their seats.
The new songs sounded fantastic in the acoustic set. Willy’s vocals really provided a solid, smooth support to the tunes, especially in the crowd favourite “It’s a Girl Thing”, and in my favourite “Bag of Sweets”.
Without the full band sound and with a perfectly behaved audience (my friend leaned over and whispered to me “Is this Deborah’s first baby?” and was immediately threatened with expulsion by the venue manager if she didn’t be quiet – who needs bouncers?!?), the lyrics were captured magnificently in the cosy bar. It’s incredible to see an audience nodding not only to the beat of the music but also in agreeance with the lyrics.
The 90 minute set was a true mix of the old and the new but we weren’t treated with “String of Pearls” or “Madame Butterfly is in Trouble”… lucky there’s a few more shows in town!! Still, no one could complain after hearing “Release Me”, “Today I’m a Daisy”, “Alive and Brilliant”, “She Prefers Fire”, and the beautiful “White Roses”.
There was no sign of THE red dress, nor the white sleeveless number. Instead, Deb cut a stunning figure in a glittery gold full length dress. Willy was charming as usual in his loud blue shirt, red jeans and his trademark comfy leather sandles.
Well done and thank you Deb and Willy for a great night, and congratulations to Tilley’s for the magnificent sound, and comfortable smoke-free venue!!
Sarah Groube

Continental Cafe, 29th November 1997

Yep, I know there’s been a review of this gig already, but what the heck, I was there too. And, for all you know, I might have a totally different opinion. So, read on.
First of all, however, I have to declare an interest. I’m Willy’s older brother which makes me Deborah’s brother-in-law – well ,de facto brother-in-law, given that they’re not married – and Syd’s uncle. However this doesn’t necessarily mean a glowing, uncritical review. I pride myself on my objectivity. And don’t forget the unresolved sibling rivalry!
Hmm, getting sidetracked. So what did I think? Well I clapped along, moved my head around a lot and tapped my foot, definitely a good sign. I even did occasional backing harmony, although it was pretty much under my breath and about 10 metres from the stage, so I’m not sure that the audience realised how much added value it gave to the performance. More to the point I didn’t fall asleep, definitely a big tribute from a person who starts getting sleepy a couple of hours after rising.
I thought the balance of old and new material was spot on and illustrated Deborah’s growth as an artist. Her voice, in keeping with the maturity of the songs, has unquestionably ripened. A rougher edge, yet still caressing, and without the histrionics that I think she occasionally indulged in some years back. I also thought that the feeling and interplay between everyone on stage was relaxed and comfortable, and the sound, particularly for a trio, was developed and full.
Any criticisms? Well, investment in a choreographer might be a thought. Willy’s sitting dance technique leaves a lot to be desired. Bum on the stool, a lift of the left foot, a couple of wiggles, then down. Ditto the right, then back to the left. Ad nauseam. Reminds me of when we used to go down to Elwood Beach for the first chilly dip of the season when he was little. Secondly, they didn’t do “Petrolhead”, a number crying out for the great Australian film noir Mount Waverley movie to be built around it. Finally, Willy, you’re a great guitarist – George Colman would be proud of you – and I for one didn’t get anywhere near enough of your playing.
So, a ripper night -with a special thank you to Charmaine for the comfy seats – except for the cigarette smoke. I’ll give it an 8. A few dance lessons and you might be looking at a near perfect score in the future.
Geoffrey Zygier

Continental Cafe, 29 Nov 1997

The support act for this gig were Paul Hester’s Largest Living Things. They warmed up the crowd with a short set including one Crowded House song (kare kare) and his claim to be Deborah’s first husband, a claim she later described as “wishful thinking”.
Deborah and Willy were joined on stage by drummer Tony Floyd for their performance. The show had a more relaxed air to it with all three seated for most of the time. Fans were just spoiled in this show. Lots of songs from the new album along with rarely heard favourites She Prefers Fire, Today I am a Daisy, White Roses, and Born Once (sung by both DC and WZ).
Deborah seemed relaxed and was very chatty about all sort of nonsense. She asked for suggestions to replace Cary Grant (in It’s Only the Beginning), and found no-one up to the task although Adam Ant and a young Harrison Ford were contenders.
A classic show.
Mark

HQ Magazine – Serial Thriller

Serial Thriller



Author Unknown- HQ Magazine Nov/Dec 1997


Deborah Conway likes to make moves that hijack her sense of belonging. She enjoys the way a new place impinges on her music. “I’m not very comfortable with being completely stable with my living,” she admits.


In 1995, she packed her bags, her baby, her partner and her artistic intent and headed for the UK. She wasn’t coming home until she’d made the record she wanted to make. Which is My Third Husband, a sensuous, velvety, pop-imbued thing.


Back in the comfort zone to showcase it with partner Willy Zygier, she piles on the jabberwocky. “It’s a slithering record, don’t you think? A circumference record … not a diameter record.” And the title? Conway has been waiting for this. “I’m married to my work, but I like to fuck around,” she intones, Mae West-style. “I’m afraid of commitment.” This would probably be news to Zygier? She relents: “I’m speaking nonsense. We’ve been living together six or seven years. We have a child. Hey, we hired an architect once.”


Still, she has always wanted to trot out that phrase, “my third husband”. Such an Elizabeth Taylor thing. “To actually make that commitment three times! You’re either a serial romanticist, a serial optimist or a seriously bad judge of character.”

Green Guide – My Third Husband Review

Shaun Carey – The Green Guide, 6th November 1997
London has certainly had an effect on Deborah Conway and her collaborator/husband (sic), Willy Zygier. My Third Husband reflects many of the musical currents swirling around the world’s grooviest city, with whispers of the ambient house sounds that characterise acts such as Portishead and Faithless in forming many of the songs. The single Only the Bones (Will Show) is a straight-out killer and the heavily programmed 2001 Ultrasound, built on shuffling, computerised rhythms, is as good as anything Conway has ever done. A progression for one of our great talents but probably too subtle and subdued for chart success.

Prince Patrick Hotel, 3rd November 1997

Having returned from Noosa, where they played the night before, Deborah Conway et al could be excused for feeling a little tired. Luckily the support act, The Blue House, gave night a fabulous beginning for Cup Eve in Melbourne, Australia’s gambling capital. They opened with a terrific set of their own material and also their unique and hilarious version of Fever. Blue House are releasing their second EP this week and are a group DC fans should watch closely.
Deborah appeared in the now famous red dress. The play list was much the same as the previous shows in this tour with the addition of the crowd pleasing Today I am a Daisy. It spite of the obvious fatigue, DC and band put on a great show. She was particularly chatty and even mentioned that her baby is due February 13, which is also Syd’s birthday.
Through all the shows I have seen on this tour Willy Zygier remains very much the unsung hero. His guitar work is nothing short of inspired, he appears to enjoy every note, and can always be counted on the remember the words to songs when DC has a moment of forgetfulness. Although Deborah makes the show, I urge people to watch out for William J. Zygier as he is equally delightful to watch perform.
The only low point of the show was when am over-enthusiastic punter decided to impress with this dancing style. It turned out to be a cross between Peter Garrett and a plane crash, astonishing to watch and clearing a wide path through the crowd. Sadly this treat only lasted a couple of songs.
In all a good solid show, maybe not one for the history books but well worth the $12 and then some.
Mark O’Meara

Doghouse, Brisbane, 1 Nov 1997

ON a weekend, venues generally attract crowds of people wanting to do one of two things: drink or smoke heavily, and create some sort of disturbance. On this particular evening, however, the mood inside the Doghouse is relatively sombre and it is almost 11pm before the first signs of Deborah Conway’s presence begain to be felt.
The air is becoming more and more difficult to breathe, and a mediocre support band have just about worn out their welcome with the crowd at the packed jazz venue when Willy Zygier and the band take to the stage, signalling Deborah’s imminent arrival.
It has been quite sometime since we were last able to see Deborah live, and in that time her aesthetic beauty (although unimportant) seems to have become even startlingly more apparent. It is certainly in person that her true gorgeousness shines through as her self-deprecating sense of humour blends effortlessly with that flawless, creamy complexion; dark hair and ruby red lips.
Likewise, the by-now well documented red gown is Deborah down to the ground. As she gently strokes her growing belly and jokes with the crowd (“Yes folks, I HAVE had sex!”), it is clear that she is at her happiest, healthiest and clearly most confident.
Over the ensuing two hours, Deborah delves into a back catalogue that delights devotees and seems to win acclaim with recent converts. The lush tunes of My Third Husband go down a treat live and two older numbers, String of Pearls and White Roses, were particularly spellbinding. Indeed, even the rowdiest of patrons (the three guys whom Deb asked to ‘Shut the hell up!’ a good three or four times) lowered themselves to a dull roar as her voice soared over the acoustic guitar accompaniment.
It was Deborah’s first ever show at the Doghouse, an intimate (albeit respiratory impairing!) jazz venue with respectful patrons that suited her moody, cabaret performance with disarming surprise. The crowd were, by the end of the evening, vocal in their appreciation for the tunes, both old and new, and those who have been with her since the beginning thrilled in seeing her live again at last.
Shortly before 1am, after two solid hours of melodic rise, fall and good-natured banter, the crowd’s enthusiasm had not decreased and although Deborah’s weary smile conveyed how touched she was by the sincerity of the applause, she warned us that this, the third encore, would have to constitute the grand finale.
It was with that that she broke into a rousing rendition of It’s Only The Beginning, stopping to thank a couple at the front of the crowd for a bunch of flowers (“How sweet, perhaps today I can be a rose!”), followed by Today I Am A Daisy, a flourish of kisses and the declaration that: “You guys are the best Gold Coast audience I’ve had! I bet you’re thinking, ‘She says this to all her Gold Coast audiences’, but I mean it you guys. Thank you, I’m grateful”.
Somehow, though, I cannot help but feel it is we who should be thanking Deborah for her spellbinding show and consummate kindness.
Heidi Maier

The Capitol, Brisbane, 31 Oct 1997

In a filled Capitol Theatre on Friday night in Brisbane, Deb, Willy and some new faces belted out a well balanced mix of tracks from the latest masterpiece, My 3rd Husband, and one or two songs from String of Pearls, Bitch Epic, Do Re Mi and Ultrasound.
The tone of the new album was captured magnificently live although it was plain to see that only a handful of fans had heard the album.
Having seen Deb live half a dozen times previously in Canberra, only performing with Willy and Bill (bassist – not on this tour), this full band sound was a new experience for me. While Deb’s vocals were stronger and more powerful than ever, the lyrics were sometimes lost in the oddly shaped venue. Not so when She and Willy returned to the stage for “String of Pearls” and the song that wrenches at everyone’s heart, “White Roses”.
The most entrancing tune of the night had to be “Bag of Sweets”. Having been tempted with the lyrics on this Web site for some months now, it was fascinating to hear the album version. To see Deb perform it live was the most sexy, seductive and totally enchanting performance I’ve ever seen.
If you’re planning to see Deb on this tour, make sure you grab the cd before you go so that you can really be involved in the whole show.
I’ve never seen Deb with so much energy or radiance in concert and she was constantly showered with shouts of “You’re beautiful!” Despite her insistence that it wasn’t her birthday, one section of the crowd and kept breaking into hearty renditions of “Happy Birthday”.
The same section of the crowd was hanging out to hear “Will you miss me when you’re sober” but their requests were lost in the noisy rabble.
The one downside for the group was at the end of the show when some idiot, in a mad rush for Deb memoribillia, stole the keyboardists charts. Having only been with Willy and Deb for four weeks, the band gelled particularly well but poor keyboardist was having kittens over his missing script. If you’re out there GIVE IT BACK!!! – buy the cd instead…
It was plain to see that Deb’s been sorely missed and I trust that we won’t be starved of live shows for another two years.
Sarah Groube

The Capitol, Brisbane 31 Oct 1997

Doors opened to the venue at 8pm. I arrived around 9.30 and there was a young woman soloing on a guitar – not bad. Before she finished her performance, she told the audience that she had heard that it WAS Deborah Conway’s birthday that day, so we had better be nice to her. I had also thought that Deborah was born on Halloween, but I wasn’t sure of the fact. The soloist went off stage, followed by a delay of about 15 minutes. I was shocked when two bald women, and one who looked like Marilyn Manson appeared on stage. Had Deborah ditched Willy and co. for these rather alternative musos? No, it was another warm-up band, which played until about 10.45 pm, and was not bad.
Deborah finally came on at 11pm to thunderous applause. She was in that by now famous red-sequened dress, but had a guitar over her stomach so we could not yet see the dress’s main feature. She opened with the first three tracks from My Third Husband, then took off her guitar to reveal her protruding stomach to the audience – “Yes, I have had sex recently”, she announced. She then went on to play Alive and Brilliant and a few other old tracks, which recieved great support from the audience.
Deborah played several songs from My Third Husband, a few from Bitch Epic, a couple from String of Pearls and also the crowd favourite, Man Overboard. She returned in a sleeveless white dress for two encores, the second of which began with just herself and Willy.
On three occasions the audience tried to sing Happy Birthday, finally being successful on the third try. Deborah looked to Willy in amusement and said, “I can’t do it to these people, I can’t tell them it’s not really my birthday. Look, the Queen has a birthday that’s not really her birthday, so I declare this Deborah Conway’s Birthday”. The crowd cheered in delight.
Although Deborah was not as chatty with the audience as she has been in past gigs, she gave a stunning show, proving that even if she has developed a maternal instinct, she has in no way lost her performance instinct, and remains the queen of Australian pub rock.
Sarah Keenan

1997 IRC Chat

This chat took place Monday 27th October 1997.

Log file opened at: 27/10/97 8:06:48 PM

Topic for #Deborah: Welcome to the Deborah Conway Chat
Room!

soozie: hi

lhucekb: hi soozie, having connection troubles?

Pooh_bear: great to c u online soozie

soozie: hi honey….good to see another founding member of
the Boonah Chapter of the deborah conway fan club online

Pooh_bear: petty sister mary can’t be with us

Bryan: All rise.

soozie: poor sister mary she must be still hanging from
that harness in the tree

Markimus: hi people

Pooh_bear: with grade 9 boys!!

soozie: ha markimus

Bryan: Hi mark

Markimus: we are about to start here 🙂

Bryan: Hi Euan

etroup: G’day soprts fans

lhucekb: hi Markimus, Bryan, etroup…how goes?

Deborah has joined channel
#Deborah

lhucekb: bows to Australia’s greatest music maker

Deborah has set the topic on channel
#Deborah to Buy the album you bastards

soozie: i have

Bryan has bought three copies…

Deborah: thankyou for that

etroup: I’ve ordered it, takes awhile to get to the
Outback, you know

lhucekb: me too…its great…

Bryan: etroup: guess I should come up there more often…

Deborah: where are you in the
outback

etroup: Parkes, NSW

ronny: it takes even longer for it to show up in the
states!!!

Deborah: hey yankees, welcome

etroup: Anyone know why JJJ aren’t playing it, or shouldn’t
I ask?

Deborah: JJJ played Only the Bones off
Ultrasound and didn’t want to risk repetion

etroup: JJJ avoid repetition?!

soozie: pooh bear..why arent you saying anything

lhucekb: saw you on saturday night…had a fucking ball you
were incredible but were you supposed to turn up when you did or were
you late?

Deborah: i was not late, it was their
fault at the venue

lhucekb: dont worry we were more than happy to blame the
venue as well…

Pooh_bear: i am a shy boy soozie

barry_bing: Deborah: It’s great to see you back in .au, how
have you found playing to melb audiences?

Pooh_bear: deb missed your concert in london as i was on
way to turkey two days before hand!

Pooh_bear: how did the concerts go over there

soozie: Deborah…..how much did play while in London.

Deborah: the shows in London were
sensational

Pooh_bear: u still there soozie

Mark: Staying in Oz for long?

Deborah: Mark, plans are fluid

soozie: Members of the Boonah Chapter of your fan club are
wondering whether you still have photo’s of their inaugural meeting
and hope you have blue taced them onto your fridge

Deborah: hey i remember you

Deborah: u turned up at that show at
Noosa

Pooh_bear: soozie want be at the show in brissie

soozie: yes……life sometimes is embarassing..especially
when one wakes the next morning

lhucekb: stoopid question that i have been dieing to ask,
from “Bitch Epic” does “DCN # 348” stand for deborah conway’s
nightmare?

Deborah: of course it does.

Pooh_bear: soozie have u still got the bit of ham from kelly’s??

Deborah: what did you all think of the
underground lovers ?

Bryan: Deborah: Why “Only The Bones”?

Deborah: as a title or a single ?

Bryan: As a single.

Deborah: ask michael gudinski his
choice

Bryan: OK… but then why did you choose to redo it on 3rd
Husband?

Deborah: cos no one bought Ultrasound

Bryan: 🙁 I did. And then I turned up to your gig a week
later and you were bloody selling autographed copies… 🙁

lhucekb: i did!!!!!!!!! i love “3 love” so much….its even
better in concert

Deborah: bryan, bring it to a gig and
we’ll personalise it and autograph it

Bryan: Will do. Thursday. 🙂

soozie: Pooh bear I would love to do Brisbane show but I am
working in Malaysia….but I am hoisting 6 people to the Sydney show
….a sort of subgroup to the Boonah Chapter but based in Rose Bay

Mark: re staying is oz, special interest group of the willy
festival, any chance for jan ’98?

Deborah: mark, always happy to do the
will festival, will be large with child, you bring the hot water I’ll
bring the towels

Mark: I remember last time!

soozie: Deborah……how long do you think you will be
based in London

Deborah: here’s a scoop for you all…

Deborah: baby 2 is due on the same day as
baby one

Bryan: Makes birthday parties easier.

etroup: wow! time travel!

lhucekb: unreal!!! you gonna give him/her a cool name as
well?

soozie: got any names ready for baby two

Deborah: re london, when they get rid of
daryl somers

lhucekb: you hate d. somers??? could you be more perfect???

Deborah: no name suggestions please

soozie: I always thought you and he had a perfect
connection

Deborah: actually we were thinking about
calling the child daryl

Deborah: but we settled on Ozzie

Pooh_bear: some thing like Considerate Understanding
Nineties Type you once described bert newton as!!

lhucekb: i imagine Syd to have a personality and a
half…she a cool kid?

Deborah: yes

soozie: WASN’T THAT THAT COUNTDOWN BLOKE

Deborah: maybe it was

Bryan: Deb: A question about the album. I felt ‘String of
Pearls’ and ‘Bitch Epic’ both had a definite theme to them, but not
so much 3rd Husband. Any comment on this?

soozie: Why did you write such different stuff in London

Deborah: times were hard

Deborah: what did you think the themes
were on the first two ?

Deborah: my 3rd husband’s themes are sex,
death, memory, and sex

Bryan: Well ‘String’ semes to have a lot about
relationships – and how they can go wrong. I think Bitch’s theme
speaks for itself.

Deborah: we had to live without Daryl,
without Kennett

Deborah: sometimes these things are more
evident after the fact

Veronica: Deborah, do you think you will ever release in
the US?

Deborah: god knows I’d love to

Veronica: it’s damn hard to get your cds over here

Deborah: we wait to see if someone is
brave enough to put it out

lhucekb: you gonna release a live cd like you did with
“Epic Theatre”? if so will it be available seperately as well?

Deborah: what about over the net
?

Veronica: expensive, but the only real option

Deborah: you mean contractual obligation
record ?

ronny: shipping from australia is expensive on top of over
priced australian cd prices.

Deborah: veronica, you need a pen
pal

lhucekb: you have a definite market in the states, i have
mailed some to friends there and they loved it

Deborah: yankees, why are you awake ?

Veronica: What can I say, I’m a fan. 1:30am on a work night
is not too much 🙂

Deborah: ooh, I am touched, have you ever
seen me play ?

Veronica: sadly, no.

Adorable saus hi ppl !

Adorable: hiya deborah how r u today ?

lhucekb: hey adorable…

Deborah: well, yourself ?

Adorable: i am well thanks

Adorable: can i ask you a question deborah ?

ronny: ditto

etroup: I loved the Club Buggery performance. Was that fun?

Deborah: club buggery, roy and hg are
very special people

Adorable: my dad has walked in and you know him

Adorable: his name is john and he works for festival in
adelaide

Deborah: so who are you adorable
?

ronny: i’ve seen you twice. live at the wire performance
at the virgin mega store in melbourne (you signed a cd for me) and at
what i think was the cherry tree.

lhucekb: does it piss you off that annoying kennett lovers
like tina arena shudders get so much air play

Deborah: YES !!

Bryan: Any prospects of a future collaboration between you
and Tina?

etroup: does the pope wear a tall pointy hat?

Deborah: actually tina’s husband used to
manage me briefly

lhucekb: NO!!!!!!!!!!!!!!!!!!!! but what about you and max
sharam?? i reckon that’d sound really cool

Deborah: max sharam, we don’t know each
other

Adorable: john said to say congratulations on the album it
has been getting some great reviews ! 🙂

Deborah: oh good Deborah: you should all
write letters to Rolling Stone complaining about the appalling review

soozie: didn’t read it..what did it say….those arsehole’s

Deborah: we can’t bring ourselves to
repeat it

soozie: no problem

lhucekb: pity…you both have something real to say

Deborah: you stick your neck out, what do
you get ?

Deborah: did anyone see the underground
lovers ??

Adorable: no i would like to though

soozie: no

Adorable: what were they like ?

Deborah: we didn’t see them either

etroup: no, they haven’t played Parkes. We had Dragon,
though.

Adorable: deborah what do u think of nikka costa ?

lhucekb: yea…we were there on saturday from 8:30…i was
with 2 non-fans… lets just say they are now

lhucekb: adorable…Who??

Adorable: nikka costa she is awesome !!

Deborah: haven’t heard her

Adorable: i thought u might have

Adorable: well i suggest u listen to her cd

Adorable: she is fantastic

Deborah: are you nikka costa ?

Adorable: no i am just a fan of nikka

soozie: what time are you coming on on Thursday
night……I have a friend flying in late and hopes not to miss you.

Deborah: ring the venue and then added an
hour (maybe not)

Adorable: so whos the producer on my third husband ?

Adorable: cos the name looks familar

Deborah: produced Fine Young Cannibals
Sundays

Adorable: ok then thanks a lot 🙂

Markimus: any more questions people ??

lhucekb: out of interest (ok i am nosey!!) what musicians
do you like?

Deborah: have you heard the blue moods of
spain record – totally sensational

soozie: Pooh bear I am out of here…..give your wifie a
big hug……see you Deborah

Adorable: when u r coming to adelaide deborah, do u know
off hand ?

Adorable: and do u know where u r playing ?

Deborah: 15, 16th Nov

ronny: why no DNC track on 3rd husband?

Deborah: there was going to be one…

Deborah: but we’re saving it for a b-side
maybe

lhucekb: how come only 10 songs??

Deborah: cos they’re so dense and I am
into short records at the moment.

Deborah: where is everyone from ?

barry_bing: melb

Adorable: Adelaide

ronny: san francisco

Bryan is from Sydney, and is miffed that we only get one gig!

Veronica: Oregon

AnthonyH: Better late than never… 🙂

Deborah: we are coming back to Sydney at
the end, Newtown the globe and a few out of towners

lhucekb: who is they?? i dont know much about the music
industry…melb…saw you do a free concert in moonee ponds…it was
fun!!

Deborah: i have no recollection of moonee
ponds, isn’t that where edna everidge comes from

lhucekb: yea…i think you called it essendon…you like
sucked up your snot into the mic and said “i know i’m tasteless” then
“still we are in essendon”

Deborah: was that with dave graney
?

AnthonyH: OK, who set the topic? 🙂

Deborah has set the topic on channel
#Deborah to Ideal Christmas Present

AnthonyH: Much better Deborah…! Marketing is everything
🙂

Adorable: deborah i was listening to strings of pearls the
other day Adorable: and i read the cover

Adorable: it said u has like 4 producers and stuff y was
that ? couldnt find the right 1 ?

Deborah: no

Mark: Any more concerts planned for Melb, had the outlaws
last w/e

Deborah: continental acoustic

barry_bing: Deborah: Hate to harp on the past, but do you
do any/many DRM tracks during your shows?

Deborah: we are doing MOB

Deborah: were doing Adultery but wasn’t
cutting it

Deborah: maybe it was more of a hit in
Sydney

barry_bing: no idiot grin?

Deborah: never like it much

barry_bing: =(

Adorable: god the lag is heaps bad !

Deborah: sorry to upset you

lhucekb: i cant tell if its lag or what

etroup: ahh, I’d love to see you sing Adultery, it’s one of
the best songs I’ve heard.

Deborah: really ? you don’t get out much

barry_bing: etroup: i’m listening to it now =)

Deborah: it’s hard to live with your past, one has to move
on

Adorable: so deborah what do u think of mushroom going to
sony ?

Adorable: has it been beneficial for u ?

Deborah: not so far

etroup: that is precisely correct.

Deborah: hwo did cuttlefish beach age ?

Deborah: computers are a wonderful thing
aren’t they ?

lhucekb: i dont know deborah how did cuttlefish beach age?

Veronica: maybe sony will have the balls to release in the
US, I think you’d be a big hit, huge. =)

Adorable: would u have preferred mushroom to stay with
festival then ?

lhucekb: do you go to irc rooms or bbs rooms much?

Deborah: veronica, you don’t run a record
company do you ?

Veronica: I wish

Deborah: irc, no

lhucekb: sony has mariah caery they dont need balls

Adorable: mariah caey sucks

Veronica: i just evangelise you at every opportunity. so
far it hasn’t gotten me too far.

Adorable: she only got somewhere cos she was shagging the
boss of sony music

lhucekb: thanx…you live up to your name adorable

Deborah: welcome anthony

AnthonyH: ISP number three, here’s hoping…

lhucekb: hey that could be a carrer move…sorry couldnt
resist

AnthonyH: Hi Deborah, how’s the electronic world? 🙂

Deborah: the typist leaves a lot to be
desired

Adorable: i am off now

Adorable: cya deborah !

Deborah: bye adorable

Adorable: thanks for the chat !

Adorable: best of luck for the album

Adorable: i hope its a platinum/multi platinum smash cos u
deserve it 🙂

Adorable: cya

Adorable: bye ppl !

AnthonyH: Ty png i s way o ver ra ted

Deborah: wa wa wa waa

lhucekb: so is speling

Bryan: Deb: Are you open to questions on religion, personal
beliefs etc?

Deborah: depends

AnthonyH: Deborah – my flatmate just asked me to mention
that he has plenty of spare Nutella (he’s been collecting the
Simpsons glasses and he is not kidding, there’s about fifteen jars of
the stuff here!)

Deborah: so what’s the question ?

Bryan: Well… you’re not exactly a stereotyped Melb Jewish
girl. I was just wondering whether you do feel ties to the Jewish
community etc, or if its really not part of your life.

Deborah: should I come over, I need about
15 jars now

AnthonyH: All yours 🙂

lhucekb: i saw you on “good news week” you looked ummmm….

Deborah: bryan, are you a nice jewish boy
?

Bryan: I try to be. :-p

Deborah: i know when the holidays
somedays I even do shabbas dinner Deborah: but it is a problem when
you don’t believe in god

AnthonyH: Deborah – how did the POW crowd take to the new
songs on the weekend?

Deborah: like pigs to poo

Deborah: saturday show was sublime

AnthonyH: (Anthony files yet another potential album title)

Deborah: it’s a gift I have anthony

AnthonyH: No Hallam show, though? (Forgive me if I’m
covering already-covered ground)

Deborah: hope you weren’t there

lhucekb: that was my doing!!! laughs like crazy

ronny: why were you asking about Underground Lovers? did
they open for you?

Deborah: yes

AnthonyH: No, luckily the Thursday show happened, which was
a nice surprise in itself

Markimus: have you all run out of questions, surely not

AnthonyH: Ah, how IRC has changed. There’s no escaping junk
mail. :_)

lhucekb: was Hallam not so good?

Deborah: hallam was not at all

Deborah: couldn’t find it

AnthonyH: It’s over there somewhere, on the…circumference

Deborah: melbourne is a big town and we
must jetison off into the night

lhucekb: im fuckin glad i didnt go then…although i might
have seen you instead

barry_bing: you can’t get there on a zone 1 ticket

Deborah: final questions chaps

Bryan: Another 3-4 yrs before the next album?

Deborah: no way jose

AnthonyH: Are the Continental dates locked in yet?

Deborah: yes to anthony

lhucekb: doing any movies?

Deborah: there was one but it was about
Diana

Deborah: being hounded by the paparazzi
somehow i doubt it’s going to be released

barry_bing: Deborah – It’s been a pleasure having you on my
screen, Thank You!

Mark: what are the dates (apart from those on
www.mikka.com.au

barry_bing: www.mikka.net.au/~deborah

lhucekb: getting kicked outta latrobe myself….i really
love your music deborah thanks heaps for having talent and a
personality

Veronica: Goodnight (morning) Deborah and Markimus. I am
sure that I will hear more of your music (just not as soon as others
:/ ) as I do have an Aussie pen pal, but I still want you to release
here, you are sensational.

lhucekb: quit

lhucekb: opps heehee

ronny: san francisco is an even bigger town but i’m going
to sleep. bye and thanks deborah.

Deborah: lots of love

Deborah: see ya

Veronica: good to ‘see’ you

Deborah has left channel #Deborah

AnthonyH: Bye Deborah, nice to briefly type at you

barry_bing: bye all thanks for coming!

AnthonyH: Hold that thought

barry_bing: c’ya Anthony

AnthonyH: And remember, whereever you go, there you are.

AnthonyH: 🙂 etroup: well, looks like I have to go and
watch Stewie Littlemore now, too.

barry_bing: me too

AnthonyH: I’m going to try harder to figure out the new
Kylie Minogue album…

Markimus: bye all, goodnight we’ll do this again soon

Bryan: Thanks for organising it, Markimus.

barry_bing: l8r

etroup: and buy 10 copies of the cd.

AnthonyH: We should, and next time, I’m getting a decent
ISP account!

Log file closed at: 27/10/97 9:10:08 PM

Who Weekly

Barry Divola


Album Review


“I throw myself in deep, the air feels thick and wired,” Conway croons darkly over a ticking rhythm, a haze of crckling static and a pulsing bass track. We’re a long, long way from the jangly pop of 1991’s String of Pearls.
Written in London after she discovered her second album wouldn’t get an overseas release, these torch songs simmer rather than boil. Drum patterns clink and clunk, keyboard fills flutter and guitar strings vibrate. It’s a record of slow shifts in musical arrangement and melodramatic feelings lyrically. In the sneaky crawl of “Only the Bones (Will Show)”, she snarls, “These thoughts of doing myself in could only serve to make this a better place, so put on a happy face.”


Does it work? Yes and no. Conway can get a little mannered over a long stretch, and when she cuts loose on the gnarly “It’s a Girl Thing”, you wonder what would happen if she undid the top button more often. (Mushroom , $29.95) Grade: B-


The art of being immature


“One does have to be careful,” Deborah Conway tells me.”Think of Julian Lennon.” We’re discussing the possibility of Syd, her 2-and-a-half-year-old daughter, growing up to follow in the footsteps of her parents. (Conway’s partner, Willy Zygier, is co-writer and instrumentalist on her last two albums.) With her black hair, pale face, dark lips and direct stare, Melbourne raised Conway, 37, is an imposing presence, and gives answers that are at the same time flip, dramatic and funny.


The past couple of years have been spent in London, and she will return there in April after the birth of her second child. “I was bored,” she says of the initial move overseas. “I wanted to go away and do something weird and wacky. And I was rebelling against becoming a mother. You’re meant to settle down and become a nesting, so I wnt vigorously the other way.” She smiles. “I’m so immature, I really am. It’s hopeless. I’m such and adolescent.”


Her third solo album, My Third Husband, was developed in London, and the title is a phrase she has always wanted to use, “but one has to get married a few times, so I thought this was an easy way to incorporate it into my life.”


When describing the new songs, Conway goes off on a geometrical bent : “It’s not a diameter pop record, it’s a circumference pop record.” I raise my eyebrows. “It goes around and around instead of cutting to the heart of anything,” she says by way of clarification.


So what shape was her last album, Bitch Epic ? “Like ab isosceles triangle. All the albums are different but they’ve all grown out of each other. Nothing comes of nothing, as Julie Andrews once said.”


She like London. She loves the easy accessibility to alternative culture and exotic European cities. “But I like Australia for different reasons,” she is quick to add. “There’s no traffic, the air is clean, the beaches are unsurpassable, the food is fanstastic and it’s so cheap compared to over there.” She smiles again. “See how optimistic I am See what a positive human being I can be?”

Mushroom Press Release For My Third Husband

October 1997


The Bitch is Back and would like you to meet her third husband. After 2 years of holing up in the second bedroom of her London flat it’s time to bring him home to meet mother.


Deborah Conway began her musical career with Do Re Mi in 1981, the band recorded several singles, EPs and 2 albums, but despite achieving commercial radio success with a song about “penis envy” (amongst others), the band broke up in 1989. She then spent a couple of years living overseas, recording an album which was never released, appearing in theatre and film, including Peter Greenaway’s “Prospero’s Books” and working on a Pete Towshend album.


Following her signing to Mushroom, 1991 saw the appearance of Conway’s first solo record, “String of Pearls”. The album achieved platinum sales and produced a number of singles including “It’s Only The Beginning”. And indeed it was. In 1992 Conway won the coveted ARIA Award for best female performer.


Then came the ground breaking Bitch Epic album in 1993. More musically ambitious that it’s predecessor, the record featured a rich tapestry of instrumentation and a number of guests and collaborators including Vika and Linda Bull. It was produced by American producer Jim Rondelli. Multi instrumentalist Willy Zygier featured heavily on the album as co-writer, arranger, composer and co-producer. It was a personal and musical partnership that proved successful commercially and creatively.


Since then Conway has become a mother to Daughter Syd and 2 years ago she, Willy and Syd relocated to London determined to write and make her next album. The duo soaked up the musical and cultural atmosphere, checking out various clubs and gigs and performing a dozen of their own. Through necessity they set up a studio in their second bedroom and set to work burying their noses in manuals and began piecing together their ideas on the electronic equipment they had acquired. As with most projects it proved to be 99% perspiration as they worked obsessively each day stockpiling new songs and accumulating newly discovered sounds and effects. Both wanted to write standards for the end of the century. Finally they sent out the resultant tapes and connected with Fine Young Cannibals and Sundays producer Dave Anderson, determined to get a sound that was both raw and gutsy, yet polished at the same time. A migratory recording process then ensued, moving from studio to studio and acquiring ex Fine Young Cannibals guitarist Andy Cox and programmer and ex Waterboys bassist Martin Swain as part of the team. These sessions proved the most ambitious and easily the most relaxed recording experience that Conway has had. They had succeeded in re-inventing themselves.


The resultant album has been christened “My Third Husband”, a provocative and ambiguous title that has a number of possible interpretations, especially given that Conway has never married. Perhaps she’s married to her work, it is her third record. Perhaps it’s a reflection on love and institutions. Is she a grieving widow or a newlywed? It also sounds like the possible title of a classic sophisticated 40’s movie directed by Howard Hawks. And it’s a great phrase for Conway to use at a party.


According to the bride, this album dwells on the universal themes of sex, death, memory, loss and self flagellation, fairly weighty subject matter for your average pop song. But what strikes the listener first is the post Portishead almost cinematic feel to the lush electronic and acoustic musical tableaux and the sound of the rhythms that push and surround Conway’s at times almost narcoleptic and disembodied vocal stylings. This record has a real groove to it.


These songs have already been tested in live performance in England to full houses and warm responses. Australian audiences will be able to witness that for themselves over the next couple of months before Conway, Zygier and daughter return to England around April of next year.

Juice

Playing Happy Families. Deborah Conway returns with a trip hop album

Juice October 1997- Johnny Friendly


I wasn’t coming home until I had a record finished,” says Deborah Conway, wearing her stubbornness like a badge of courage on the lapel of her faux fur coat. The record is called My Third Husband and it annouces a new side to the Melbourne-born singer-songwriter. Gone is the acoustic strum, replaced by a more atmospheric, synthesiser-based sound. But much has changed in the four years since the release of her second solo record, Bitch Epic.


Conway had created a persona as an outspoken, controversial ex-model, the reckless daughter of Joni Mitchell and Camille Paglia, but her records were less feisty than her persona. Nonetheless, Conway boasted a large and fiercely loyal audience. Two years ago, the singer moved to the UK with her four-month-old baby to promote Bitch Epic, but her arrival coincided with a restructure at the record company. Conway and her husband (sic) and producer Willy Zygier, decided to stay anyway. Mushroom Records helped out with studio equipment and support while Conway and Zygier set up a home, a studio and a new sound.


“It’s not an easy place to live,” says the mother of Syd Dolores. “It’s much easier to live here. If you’ve got a little baby, free babysitting is extremely valuable and shouldn’t be underestimated. It’s very expensive to live, it’s not easy for me to make money, it’s crowded, the water’s undrinkable, the air virtually unbreathable. What can I say? Having a very large population in a very small place is both its greatest asset and its greatest downfall. But if you live in London, it’s a pretty exciting town. There’s plenty of stuff to do, plenty of stuff to see. Some of it’s even free. So I never felt bored.”


A glance at the Conway family photo album shows bucolic shots of the family playing in the English countryside and taking afternoon tea with charismatic former Labor prime ministers. But it wasn’t all cucumber sandwiches and lobbying for a Keating. Most of their time was spent in the studio, with the added pressure of living and working together on a budget. “We’ve always had a fairly intimate relationship because we work together. You know, it works out … It has to, otherwise we’d both kill each other. I’m not saying I’m easy to live with.”


As for the album’s title, Conway quips, “I’m married to my work” (she also describes the Ultrasound band and album as “an affair on the side”). Fortunately it avoids becoming the middle-aged memoir that seems to be de rigeur among writers who are Conway’s contemporaries. The album has only one song that alludes to motherhood; the rest explore the emotional terrain of love, desire and fear.


“It’s a melancholy record in some ways,” she says, “I’d call it circumference pop. We’re not cutting straight to the heart of it, we’re going through the subtext, we’re taking the circuitous route. England is not a very direct country; it’s full of subtext, hidden menaing, the unsaid. And I immersed myself in it.”


The album’s textures are reminiscent of a cross between Portishead and Ry Cooder’s soundtrack for Dead Man Walking. Ironically, however, the album also captures Conway’s range more precisely. This is the closest she has come to delivering on the promise of Do Re Mi’s startling “Man Overboard”.


Whilst in Britain, Conway played a few shows, established friendships with other musicians and found management with Peter Jenner, who also looks after Billy Bragg and Pink Floyd and who is currently shopping My Third Husband around labels in Europe and the US. Meanwhile, Conway is assembling a band in Australia to hit the road in October. No doubt she’ll be playing songs from her entire repertoire, including the Do Re Mi hit “Adultery”.

Prince of Wales, 25 October 1997

Deborah and Willy excelled in thier second show at the Prince of Wales. The play list was similar to the Friday night performance with a couple of minor changes. Deborah seemed in high spirits and chatted to the audience every few songs. She predicted this tour would lead to a baby boom to bring more Labor voters into the world. She also assured us that any problems in the show were most certainly Kennett’s fault.
Additions to the playlist started with the often requested Madame Butterfly is In Trouble. In the encoure someone screamed out for White Roses, Deborah called for a show of hands for that or Last to Know. White Roses won beyond all doubts.
White Roses was performed by only Deborah and Willy, with Willy on guitar. He austounded everyone present (including DC) with his fabulous work with this classic. He was rewarded with a big round of applause from everyone led by Deborah.
In all a fantastic show, one for the history books.
Mark O’Meara

Prince of Wales, 24 October 1997

In the first of her two gigs at the Prince of Wales, Deborah again gave a glittering performance. She took the stage in a gorgeous red lame dress which featured a heart-shaped cutout, exposing her belly where the latest member of the Conway-Zygier clan is preparing for his/her entrance. Her gold slingback shoes were kicked off half way through the first song, and a barefoot and pregnant (her words) Deborah danced and sang her way through All of the Above, Only The Bones, Everything You Want It to Be, Alive & Brilliant, Adultery, Here in My Arms, 3 Love, Holes in the Road, Feathers in My Mouth, Bag of Sweets, Release Me, It’s a Girl Thing, 2001 Ultrasound and Man Overboard before an entranced audience.
As with the Dan O’Connell gig, the audience were less interested in the songs from My Third Husband than those from String of Pearls and Bitch Epic, however this time they at least gave the new songs a hearing, and from the few I saw mouthing the words, it appears some have actually bought the new album. The older songs took on an almost anthemic quality as the crowd could be heard quite clearly singing along.
We were rewarded this time with two encores, the first consisting of String of Pearls and It’s Only the Beginning and the second of the rarely heard Last to Know and It’s Only a Dream. All in all, a great gig with Deborah, Willy and band in fine form before an appreciative audience.
Nicky Pelletier

Dan O’Connell Warm Up Gig, 23 Oct 1997

Deborah performed her first Melbourne gig for two years (or thereabouts) in a warm up gig at the Dan O’Connell in Carlton. She wasted no time demonstrating that she has gone from strength to strength as a performer.
Deborah and Willy Zygier were joined on stage by a drummer, bass, and synth player (sorry, I didn’t remember their names in all the excitement.)
They started with All of the Above and Only the Bones. Although not in this order, she then played The Way You Look Tonight, Release Me, Adultery, Hole in the Road, Alive and Brilliant, 2001 Ultrasound, Here in My Arms, Bag of Sweets, Everything You Want it to Be, It’s a Girl Thing, It’s Only a Dream, and Man Overboard.
While the place was packed it was painfully obvious that most of the crowd was totally unfamiliar with the new songs. The My Third Husband songs, which sound very produced on the CD, went off beautifully live. The audience kicked in for the String of Pearls and Bitch Epic songs and the sheer audience thrill and swing in Man Overboard was nothing short of astonishing.
Despite the audience’s pissweak performance Deborah came back on to play String of Pearls and It’s Only the Beginning.
The whole Deborah thing, the voice, the attitude, the songs old & new, the personality and the snarl were all back in force.
Mark O’Meara

Inpress

Anthony Horan, In Press 22nd October 1997


Some years back, Deborah Conway headed to Europe with her partner and musical collaborator Willy Zygier, the intention being to start work on a follow-up album to the much-admired Bitch Epic. Just prior to departing, Conway and Zygier had popped into a studio for a couple of weeks with Bill McDonald and Paul Hester, coming out the other end with a remarkable album under the name Ultrasound. A twisted, experimental and fascinating album, it provided a fascinating contrast to the (comparatively) more straightforward songs that made up Bitch Epic, and signposted an intriguing shift in musical direction for Deborah Conway, one which was expected to manifest itself on the next proper album. That album has been a somewhat longer time coming than anyone expected “I’ve been in London for the last two years – I have been very busy, just not in the public eye, I guess”, Deborah offers by way of explanation; now in the stores sporting the title My Third Husband, it has turned out to be more of a turn into uncharted territory than anyone imagined.


And what an album it is – recorded and mixed in London, it sounds like nothing else to be found in the present or past. It’s almost as if Ultrasound was a trial run for the pure creativity, left-of-centre experimentation and quirky audio trickery here. The single that preceded the album a short while back – a reworking of the Ultrasound track Only The Bones – provided an appropriate link between then and now, but the bulk of the album explores entirely new ground, and does so with rich melodics and seductive subtlety. It is, quite simply, one of this years essential records.


That it’s taken so long to appear in the first place is the fault of circumstance; while Deborah was not taking time away from her music after the birth of her daughter, the demands of parenthood kept her busier than even she had expected.


“No, that wasn’t my intention particularly, to take time off, she says. I mean, I was just stupid, really. I don’t know if anyone knows how to be a parent until you actually are. I hadn’t realised how absolutely intensive it can be. Its such a 24 hour job, it really is. So I guess the reason its taken so long between records is because there hasn’t been that much time for work as well as being a parent. And considering that both the songwriters are both the parents.”


So why London, then, at a time when so many Australian artists and bands were discovering solid audience support in the US?


“Mushroom had wanted to put Bitch Epic out there, so there was this offer on the table which I thought was quite good – also, I had a British passport, which I knew would make life a lot easier work-wise than it would be in America. There was also family and friends that already existed there, and I guess I thought that would make things a little bit easier with a child. But as it turned out, the shooting party had beaten me to it, and Mushroom was in a shambles by the time I arrived. So we were pretty much thrown back on our own resources, which was very good for us. So we just sat down and wrote a record.”


Part of the reason for the unique sonics of My Third Husband can be traced back to the albums genesis in technology, as Conway and Zygier worked the songs into a workable demo form almost entirely using keyboards, samplers and sequencers – a radically different approach, certainly, to that taken on previous records.


“It was the way we did the demos, so we were thrown back on that”, Deborah recalls. “We were in a small flat in London so we couldn’t turn the guitar up too loud – we did a lot of it on headphones – and these limitations explain why it sounds kind of like a bird making a nest I was always very keen to put acoustic instruments on it, though, and both of us wanted someone else to get involved and take it to the next level. It’s not a matter of how much belief you’ve got in yourself; you know after youve been working on something for a long enough time, you kind of lose a bit of perspective, and you just feel like you want some input, particularly from someone whose work you like. We wanted to be surprised.”


Once the demos were completed, the tapes were shipped off to a producer who would, at first, seem an unlikely candidate; the decision was to prove insightful.


“We sent the demo tapes wed done off to Dave Anderson, the producer of our choice, who did the Fine Young Cannibals and The Sundays. With both of those records, there was a polish about them, but there was also this raw energy, which is what we liked about it. He really liked it, and rang us and said he wanted to come and have a look at us play, which luckily we were doing a few days later. He dragged along his mate Andy Cox, who was the guitar player from Fine Young Cannibals – the wacky dancer. They both went bonkers for it, and they came back to my place that night and started dancing around the living room to the demos, and it was then that I knew that a beautiful relationship was about to happen. It was rare, and it was very welcome. Wed been working in a vacuum for such a long time, heads in manuals trying to figure out how Logic Audio and ProTools worked.”


With the album completed, the next task was to send it to the label that paid for it – and being an album that takes several listens to properly sink in and gel in the listeners mind, it likely raised a few eyebrows .


“Yeah, they were a bit nervous about it”, Deborah says with a wry smile. “Well, it doesnt sound anything like String Of Pearls or Bitch Epic, does it? Weve made a circumference pop record, as opposed to a diameter pop record. Or an isosceles pop record. Let me explain myself – Bitch Epic was probably isosceles, String Of Pearls diameter, and this ones definitely circumference. Diameter meaning cutting straight to the core, isosceles just because Im being stupid, and as for circumference – you kind of go round and round in these lovely concentric circles before you finally find your way through the maze to the emotional centre, which is definitely there, but it takes a few listens to figure it out. It’s quite a dense record – which is why we only included ten tracks. Its probably enough – I’ve never been keen on albums that go on for too long. Its a wild and wonderful and wacky record. And a good late-night spin, too.”

Good Weekend

Nice girls don’t … smear Nutella over themselves and sing about pubic hair. However, Deborah Conway, a woman show eschews marriage but whose new CD is called My Third Husband, has always been determined to do things her way.


By Nikki Barrowclough. Good Weekend 4th October 1997


Deborah Conway is sitting in a cafe in sydney immediately next door to the cafe in which she said she’d be waiting. So, with the kind permission of the waitress, I take my strawberry frappe and move along the pavement to join the singer at a corner table where she’s sipping a strawberry frappe of her own.


She doesn’t glance up, but there’s no mistaking that magnificent slash-and-burn mouth which gives her a kind of voluptuous, devouring beauty.


The diaphanous eyes, on the other hand, palest hazel with their so-direct gaze, could almost have been stolen from another woman’s face.


“Russian, way back, on my father’s side, Spanish on my mother’s,” Conway says of her ancestory.


The singer/songwriter from Melbourne is back in Australia after two-and-a-half years in London, in tiem for the release, later this month, of her third solo album, ironically titled My Third Husband.


Conway’s partner, guitarist and collaborator Willy Zygier, co-wrote My Third Husband, and is also the father of her two-year-old daughter, Syd Dolores.


Why the name Syd? “After the luggage labels,” Conway replies, “Dolores … after Nabokov’s Lolita. She was a Dolores. I wanted something lush and sexy for a second name.”


Conway began her professional and personal relationship with Zygier during the making of Bitch Epic, her second solo album, which was released in 1994. It’s a relationship that, like others before it, she refuses to discuss.


The press has never succeeded in breaching her defences. “I think people who (ask) for that sort of celebrity generally invite it in, and then repulse it, by which time it’s too late,” she says dryly.


Conway’s family name was Cohen. Her father, a lawyer, who emigrated from England to Australia as a teenager, changed it to counter anit-Semitism when he set up his law practice. Conway’s parents wanted her to become a lawyer as well. When she told at the age of 19 that she wanted to be a rock singer, they packed her off to see a psychiatrist (who took Conway’s side).


After a successful stint as a model, she went on to become the frontwoman with Do Re Mi, one of Australia’s star pop acts in the 80’s. Their 1985 debut single, Man Overboard (vetoed by the BBC for its mention of pubic hair), made Conway an overnight idol. After several charttopping years with the band, Conway went solo. Her critically acclaimed first album, String of Pearls, sold 70,000 copies and won her best female performer at the 1992 ARIA awards.


Over the next three years, she performed in clubs and pubs for a growing coterie of ardent fans, did theatre, made a movie with director Peter Greenaway (Prospero’s Books) and wrote more songs. In 1994, she met Zygier and fell in love. The following year, they decamped with four-month-old Syd to Britain for the European release of Bitch Epic.


In London they discovered that the fledgling English arm of Mushroom Records was not properly set up to give them the backing they needed to promote the album. “We sort of knew (about the problem) before we left,” Conway admits. “But I was being indomitable: ‘I’m going and you can’t stop me!'”


She and Zygier decided the only thing to do was to get busy and write a new album.


“I always wante to use the phrase ‘my third husband’,” Coway explains. “I always thought it would be worth getting married and building up (to the point) where you could finally say ‘My third husband and I.’


“But I can’t summon the courage to marry even for the first time,” she adds.


It’s all to do with her attraction to instability, she says. (She liked the way she and Zygier had to free-fall in London.) But she does admit that she needs a temporary stability in order to write. “I used to really like my little flat in St Kilda Road in Melbourne, overlooking the railway line. The flat had this deeply poetic, romantic feel about it. I wrote String of Pearls there.”


She describes working in a room where the television shook and the whole building vibrated every time a train passed, and talks of gazing out the window, enjoying the fact that she didn’t know where the trains were heading.


This conscious casting of herself in melancholy solitude makes her seem, as one devoted Conway fan observes, “like a character from a Raymond Carver novel”.


Conway says she gets “terribly black” when she’s writing and describes the new album as introspective. “A lot of it’s to do with mortality and a lot to do with sex. It’s a late-night, headphones sort of record, a much more complex record, that take you around in circles before it takes you to its emotional heart, I think.


“That’s also how England works in a way,” she adds. “I think Australians say anything to anyone and it’s sort of meaningless. The British say nothing, and everything is in the meaning of their nothings.”


The ABC’s Elle McFeats, who says a lot about everything, got into a bathtub with Conway to film an interview with the singer for the 1994 McFeast documentary Sex, Guys and Videotape. Both were naked.


Perhaps McFeast was inspired by the famous sleeve photographs of Bitch Epic, which displayed Conway’s torso bared and smeared with two jars of Nutella. Her mother’s reaction, she says, was to remark that a little more mystery might be a good thing.


On the other hand, Mushroom boss Michael Gudinski complained that Conway utterly failed to capitalise on her sensual good looks when she wore golf pants in the video clip for Only the Beginning (the first single from String of Pearls).


“There was a discussion late one night. There were a few people who involved (and) some of them said things they deeply regretted the next morning, and one of them wasn’t me,” says Conway grimly.


Of the criticism itself, she adds, “It was laughable. I suppose we all have different ideas of what sexuality is. I think sexuality is about appearing to be a strong person who knows her own mind and is independent.


“Some people think sexuality is all about being vulnerable – like Marilyn Monroe – while someone like Katharine Hepburn bases her sexuality on being strong. Some people don’t think Hepburn is sexy – I happen to think she’s very sexy. I’d like to think that’s what I was aiming for in that video.”


In three year’s time, the singer will turn 40. “A lot of people I’ve talked to feel similarly to me – that they’ve reached some sort of watershed in their lives,” she remarks. “I suppose there’s a point when you think, ‘God, it’s no tall stretching out before me forever.’


“I read a lot of Syliva Plath when I was away. I read her letters, and she seemed to be a young woman who, at the age of 16 or 17, was totally aware of her mortality – completely aware of the limited time she had. It’s terribly rare to find that.”


It’s in this vein that Conway mentions that she likes songs about memories, “and the unresolved ambitions you become aware that you can’t fulful for whatever reason”.


Of songwriting itself, she observes, “There has to be a core of truth. People know when there’s no truth. Whether you’re someone who’s been abused or bashed up, or loved or left – it doesn’t really matter. It’s not the mechanics that matter – it’s the spiritual core.”

Only The Bones (Will Show) single (1997)

Mushroom MUSH01682.2 (1997)

Only The Bones (Will Show) CD Cover

  1. Only the Bones (Will Show) – Conway/Zygier (EMI/Polygram)
  2. Ring of Truth – Conway/Zygier (EMI/Mushroom/Polygram)
  3. Bottom of the Lake – Conway/Zygier (EMI/Polygram)
  • Produced by Dave Anderson
  • Engineered by Jock Loveband
  • Photo by Polly Borland
  • Sleeve – Pierre Baroni @ Mushroom Art

2001 Ultrasound single (1997)

Mushroom MUSH01719.2 (1997)
2001 Ultrasound CD Cover

  1. 2001 Ultrasound
  2. Daylight
  3. Breathless
  • Written by Conway/Zygier (EMI/Polygram)
  • Produced by Dave Anderson
  • Engineered by Jock Loveband
  • Beat Reconstruction by Pound System at Sing Sing Studios, assisted by David Baris
  • Photo by Polly Borland
  • Sleeve – Pierre Baroni @ Mushroom Art
  • a different mix of 2001 Ultrasound than the album

My Third Husband (1997)

Mushroom 1997 mush33055.2

My Third Husband CD Cover

  1. All Of The Above
  2. Only The Bones (Will Show)
  3. Everything You Want It To Be
  4. Here In My Arms
  5. 2001 Ultrasound
  6. Feathers In My Mouth
  7. The Way You Look Tonight
  8. It’s A Girl Thing
  9. It’s Only A Dream
  10. Bag Of Sweets

Buy

My Third Husband

Choose your location


Listen

Here in My Arms

[audio:https://www.deborahconway.com/wp-content/uploads/2010/04/HereInMyArms.mp3]

Bag of Sweets

[audio:https://www.deborahconway.com/wp-content/uploads/2010/04/BagOfSweets.mp3]

In October 1997 Deborah released her long awaited third solo album. Called My Third Husband she descibes it as a “dark, throbbing, hypnotic and dreamy kind of a record. A late night spin.” The first single was a new recording of the Ultrasound song called Only the Bones (Will Show). The second single, 2001 Ultrasound, was released early January 1998. The third single, It’s a Girl Thing was released to radio only but can be found in second hand stores if you’re super keen.

  • writers – Conway/Zygier
  • publishers – EMI/Polygram
  • producer – Dave Anderson
  • engineer – Jock Loveland
  • mix assistants – Nick and Rafi
  • mastering – Ian Cooper
  • recording studios – RAK, Red Bus and West Heath, London
  • mix studio – Swanyard, London
  • programming, keyboards, bass on Everything You Want it to Be – Dave Anderson
  • vocals – Deborah Conway
  • programming – Andy Cox
  • drums – Roy Dodds
  • bass – Martain Swain
  • arrangements, programming, guitars, synthesisers, samplers and vocals – Willy Zygier
  • photos – Polly Borland
  • sleeve labor Pierre Baroni@Mushroom Art

The Garage, North London, 1996

Having been at a very impressive gig a couple of weeks ago of Deborah, Willy and their band, I did a Net-search on ‘Deborah Conway’ and found you. Thought you might like a brief precis of the night….
The place was The Garage in Highbury, north London, a small yet intimate venue. One which does not afford the luxury of a back stage door to avoid the hordes of fans. But whilst Deborah and Willy were able to surreptitiously slink in through the front door in relative anonymity, they shouldn’t take this for granted, not for long in any case. As the night came to a close, the word spread again … different town, same fame.
From the moment their support, the inimitable Ursula, completed her repertoir (including a rather alternative version of Sound of Music’s ‘Do-Re-Mi’ – smell the irony?), the mood was right. They opened with a couple of new songs before launching into a deliciously upbeat rendition of ‘Release Me’. The place was pumping.
Parenthood must sit well with Deborah and Willy. The lyrics still pack a punch, but now in a measured way. The music is more interesting than ever before – don’t expect to be hand-fed the tune from verse to chorus. Highlights were the hauntingly romantic ‘Here In My Arms’ and ‘This Is The Show’.
Peppered through the new numbers were several Conway classics, including ‘Alive and Brilliant’, and a triple encore of ‘City of Women’, a funky ‘Man Overboard’ and ‘Three Love’. But the best was ‘Today I Am A Daisy’ – if I had three feet, I’d have stamped them all.
Deborah and Willy’s performance was as usual professional, yet challenging. We wait for more – roll on live shows, roll on CD releases … more!
Martin Guenzl

1996 Interview for the site

How far are we from the new album ? What can you tell us about it ?

[note : the new album was released as My Third Husband]

The album is written. By that I mean there are 20 songs to cull a record
from but I haven’t actually stopped writing and won’t until I’m in a
studio. My record company has just recently given me the green light to spend their money and as soon as I find a producer I want to work with, I will.

Willy Zygier and I have been demoing songs at home on a 16 track Mackie desk and Pro-Tools, using loops and samples in leiu of not having access to a drum kit or bass guitar. Apart from the inherant differences in the writing compared to my previous releases, this has given the songs quite a singular identity. A kind of junk yard approach. Hypnotic at it’s core but with spell breakers.

Any plans to come back to Australia ? tour elsewhere ?

Best case scenario.. Into studio in September, back in Australia in
January to tour, conveniently missing out on a harsh London winter. Back to
tour in Europe following summer. Fingers crossed.

What is your favourite pizza ? Where do you stand on the pineapple issue ?

You know I never knew there was a pineapple issue. But if it gets down
to it, I guess I’m a purist. Tomato, cheese, oregano. Commonly known as a
Margherita. Mind you it depends what time it is, I have been know to be
quite flexible.

How were Bitch Epic and String of Pearls recieved overseas ?

Unfortunately neither were released anywhere outside of Australia/New Zealand.

What is the story behind the rumoured unreleased album of dance music ?

Ah, a story of intrigue, adventure, lost opportunity, myopic opportunists
and sad little bundles of waste; time, talent and terribly large sums of
money. Virgin wanted me to make a solo album, a dance album, and the carrot
was that the 3rd Do Re Mi album, which they didn’t otherwise want to make.
I, having no driving inclination to make a solo record at that point, made
a series of bad decisions not excluding the one where I said yes in the
first place.

All in all it’s for the best though. A big learning curve about how not to
make music and a new voice rose like Pheonix from the cremated remains.

Any future plans for Ultrasound ?

Maybe if I get pregnant and Willy, Bill and Paul happen to be hanging round with nothing better to do, another album. It was a one off but never say never…

Ultrasound (1995)

Mushroom D31360 (1995)
Ultrasound CD Cover

  1. One
  2. 3 love
  3. Anyone who had a heart
  4. Four
  5. Only the bones
  6. Six
  7. Descendo
  8. City of women
  9. Born once
  10. Ten
  11. Evil homer
  12. Twelve
  13. By then dead
  14. Petrol head
  15. Fifteen
  • Ultrasound are : Deborah Conway, Paul Hester, Bill McDonald and Willy Zygier.
  • Engineered and mixed by Laurence Maddy
  • Illustrations by Paul Hester
  • Photography by Mardi Sommerfield
  • Design by Debbie Ladd/Mushroom Art
  • All tracks Ultrasound except track three Bacharach/David
  • Notes: Recorded in one week, mixed in one week.
From inside the Ultrasound Cover.
the fab four

Today I Am A Daisy single (1994)

Mushroom D12621 (D11621) (1994)

Today I am A CD Single (thanks to Ron Corrall for this one)
photo: Pierre Baroni ©

  1. Today I am a Daisy (album version)
  2. Bombshell
  3. Parabasis
  • Tracks 1 and 3 written by Conway/Zygier, 2 by Conway.
  • 1 produced by Jim Rondinelli and Zygier, 2 and 3 produced by Zygier
  • Photography and Design : Pierre Baroni/mushroomArt
  • Parabasis also appears on the Epic Theatre CD. This is a different version.

Today I Am A Daisy EP

Mushroom D11719 (1994)

Today I am a Daisy CD Cover

photo: Pierre Baroni ©

  1. Today I am a Daisy (album version)
  2. Alive and Brilliant (album version)
  3. Man Overboard (live)
  4. Goldfinger (live)
  5. Today I am a Daisy (live)

Tracks 1, 2, and 5 written by Conway/Zygier,
3 by Conway/Bray/Carter/Philip,
4 by Barry/Bricusse/Newley.

1 and 2 produced by Jim Rondinelli and Zygier.

Notes

  • The second release, in a slimline CD jewel case.
  • Tracks 3, 4, and 5 recorded Feb 21 1994 at The Star Club, Adelaide.
  • Photography and Design by Pierre Baroni/mushroomArt

the daisy disc

Consider This/Now That We’re Apart single (1994)

Mushroom D11671 (1994)

Consider This/Now That We're Apart CD Cover
photo: Pierre Baroni ©

  1. Consider this (album version)
  2. Now that we’re apart (album version)
  3. Under my skin (live)
  4. It’s only the beginning (live)
  • Tracks 1 and 2 written by Conway/Zygier, 3 by Conway/Cutler/Bray, 4 by Conway/Cutler.
  • 1 and 2 produced by Jim Rondinelli and Zygier.
  • tracks 3 and 4 recorded May 13 1994 at the Athenaeum Theatre, Melbourne.
  • Photography and Design : Pierre Baroni

Epic Theatre EP

Mushroom TVD93416 (1994)

Epic Theatre CD Cover

photo: Pierre Baroni ©

  • This recording is a compilation of two Athenaeum shows in Melbourne on Friday the 13th and Saturday the 14th of May 1994.
  • Released as a double CD pack with Bitch Epic.
  • Produced by William J Zygier
  • Photographic troublemaking and design – Pierre Baroni
Track Song Title Written by
1. Buried treasure Conway
2. Madame Butterfly is in trouble Conway
3. Parabasis Conway/Zygier
4. Will you miss me when you’re sober Conway
5. White roses Conway/Bray
6. Get stripped Zygier
7. String of pearls Conway
8. Today I am a daisy Conway/Zygier
Epic Theatre Disc

Triple M Cordless (1993)

Mushroom TVD 93391 (RMD 53391) — 1993

The CD cover

  1. True Tears of Joy – Hunters And Collectors
  2. When The River Runs Dry – Hunters And Collectors
  3. Harley And Rose – The Black Sorrows
  4. Save Your Life For Me – Kate Ceberano
  5. Working Class Man – Jimmy Barnes
  6. Catch Your Shadow – Jimmy Barnes
  7. Bettadaze – Boom Crash Opera
  8. Just Like Fire Would – Chris Bailey
  9. The Horses – Daryl Braithwaite
  10. Rise – Daryl Braithwaite
  11. One More Time – Diesel
  12. When I First Met Your Ma – Paul Kelly
  13. Fall At Your Feet – Crowded House
  14. It’s Only Natural – Crowded House
  15. Will You Miss Me When You’re Sober – Deborah Conway with Richard Pleasance
  16. Sweet Virginia – Nick Barker
  17. Shivers – Screaming Jets
  18. Slave – James Reyne
  19. I Remember – The Badloves
  20. Green Limousine – The Badloves

Relevant liner notes:

  • Will You Miss Me When You’re Sober – Conway (EMI Songs)
  • Recorded in the studios of Triple M Perth
  • Engineered by Peter Raines
  • “We first noticed Deborah Conway as part of the group Do Re Mi – literally. Do Re Mi was four people, but Deborah Conway was the one you couldn’t help watching, the voice you couldn’t help remembering. Ultimately, stepping out on her own was the natural thing for Deborah to do.”

Good opinion has it that this CD cannot be bought – it was only available
in a competition run by Triple M

Thanks to Bryan Gaensler for this addition to the discography.

Seven Deadly Sins soundtrack (1993)

ABC Music 514463-2/514463-4 (1993)

Paul Kelly, Renee Geyer, Vika Bull, Deborah Conway

  1. He Can’t Decide (P. Kelly/M. Armiger) 3:37
  2. Almost Persuaded (G. Sutton/B. Sherill) 3:05
  3. Imagine The World (M. Armiger/P. Kelly) 6:00
  4. I Can’t See Me Without You (C. Twitty) 2:41
  5. Ugly Woman (Raphael de Leon) 2:40
  6. Foggy Highway (P. Kelly) 3:27
  7. Don’t Break It I Say (P. Kelly/D. Conway/R. Geyer/M. Armiger/Unknown) 4:10
  8. She’s Got You (H. Cochran) 3:00
  9. Crazy (W. Nelson) 4:13
  10. Maybe This Time (P. Kelly/M. Armiger) 3:34
  11. My Friends Say Fool (W. Mason) 3:32
  12. In April (D. Conway) 3:30
  13. Someday I’ll Take Home The Roses (J. Stafford) 3:43

Produced by Martin Armiger
Recorded & mixed by Michael Paul Stavrou
Notes:
Paul Kelly’s vocals
appear on tracks [1], [2], [5] & [7]. This was the soundtrack
album to the ABC television series “Seven Deadly Sins”.

Alive and Brilliant single (1993)

Mushroom D11569 (1993)

Alive and Brilliant CD Cover

  1. Alive and Brilliant (album version)
  2. Gold
  3. Water Flows On
  • Tracks 1 and 3 written by Conway/Zygier, 2 by Blegvad
  • 1 produced by Jim Rondinelli and William J Zygier
  • 2 recorded live at Metropolis Audio, Melbourne
  • 3 recorded at Mick Girasole’s house in Essendon, April 1992.